READING SCHEDULE FOR E300 ANALYSIS OF LITERARY FORMS
CSU FULLERTON, SPRING 2012 (Wed.)

*2023 Note. Links and most procedural information have been removed from this archival copy, leaving mainly the assigned editions and the reading schedule.

COURSE INFORMATION. English 300, Course Code 17751, Section 80. Wed. 4:00 – 6:45 p.m., Irvine Campus (IRVC) 120. Instructor: Alfred J. Drake, Ph.D. Office hours: Wed. 3:00 – 3:55 p.m. in IRVC 236. Email: e300_at_ajdrake.com. Catalog: “Main literary forms – prose fiction, poetry and drama – are studied and analyzed. English majors should schedule this basic course as early as possible. Units: (3).”

REQUIRED TEXTS AT IRVINE CAMPUS BOOKSTORE

Booth, Alison and Kelly J. Mays. The Norton Introduction to Literature. Shorter Tenth Edition. New York: Norton, 2010. Paperback. ISBN-13: 978-0393935141.

SCHEDULE: WORKS DISCUSSED ON DATES INDICATED

WEEK 1 FICTION

W. 01/25. Course Introduction.

WEEK 2 FICTION

W. 02/01. Chapter 1: Plot. Read this chapter’s introductory material (50-58). Edith Wharton. “Roman Fever” (85-95). Chapter 2. Narration and Point of View: read this chapter’s introductory material (96-100). Edgar Allan Poe. “The Cask of Amontillado” (101-05). Jamaica Kincaid. “Girl” (116-17).

WEEK 3 FICTION

W. 02/08. Chapter 3. Character (119-26). Toni Morrison. “Recitatif” (139-52). Chapter 4. Setting: read this chapter’s introductory material (163-69). Anton Chekhov. “The Lady with the Dog” (169-80).

WEEK 4 FICTION

W. 02/15. Chapter 5. Symbol and Figurative Language: read this chapter’s introductory material (208-13). Edwige Danticat. “A Wall of Fire Rising” (239-49). Chapter 6. Theme: read this chapter’s introductory material (251-54). Stephen Crane. “The Open Boat” (255-71). Gabriel Garcia Marquez. “A Very Old Man with Enormous Wings” (271-76).

WEEK 5 FICTION

W. 02/22. Chapter 8. Cultural and Historical Contexts — Women in Turn-of-the-Century America (347-52). Charlotte Perkins Gilman. “The Yellow Wallpaper” (354-65). Chapter 7. Exploring Contexts — The Author’s Work: Flannery O’Connor (294-99). Flannery O’Connor. “Good Country People” (310-23). Mary Gordon. From “Flannery’s Kiss” (337-39). Eileen Pollack. From “Flannery O’Connor and the New Criticism” (343-45).

WEEK 6 FICTION

W. 02/29. Chapter 9. Critical Contexts: William Faulkner’s “A Rose for Emily” (389-91). William Faulkner. “A Rose for Emily” (391-97). Read at least three short excerpts from Critical Contexts on the Faulkner Story (398-425).

WEEK 7 POETRY

W. 03/07. Chapter 10. Poetry: Reading, Responding, Writing (618-42). Read also from “Romantic Love: an Album” (643-50). Love poetry, continued: Matthew Arnold’s “Dover Beach” (704-05) and Walt Whitman’s “When Lilacs Last in the Dooryard Bloom’d” ([http://www.bartleby.com/142/192.html|Internet Source: Bartleby]).

WEEK 8 POETRY

W. 03/14. Chapters 13-16, etc. A Mix: Poetry as Form and Foregrounded Language. Emily Dickinson: “Because I could not stop for Death” (886-87); W.C. Williams: “The Red Wheelbarrow” (739-40), “This is Just to Say” (740); G.M. Hopkins: “Pied Beauty” (742), “God’s Grandeur” (1030), “The Windhover” (1030-31); E.E. Cummings: “in Just” (742-43); “The Twenty-Third Psalm” (756); Wilfred Owen: “Dulce et Decorum Est” (759-60); Robert Frost: “Design” (838), “Stopping by Woods on a Snowy Evening” (1019-20); Edgar Allan Poe: “The Raven” (785-88); Shakespeare: “Th’expense of spirit in a waste of shame” (814-15); Dylan Thomas: “Do Not Go Gentle into That Good Night” (827-28); Elizabeth Bishop: “Sestina” (829-30); Marianne Moore “Poetry” (828-29); Archibald MacLeish: “Ars Poetica” (830-31); Alfred Tennyson: “Ulysses” (928-30); Robert Browning: “My Last Duchess” (1009-10). Also read “Poetic Kinds” (919-20).

WEEK 9 POETRY

W. 03/21. Romanticism: Poetry of Nature and Self-Consciousness. William Blake, William Wordsworth. Blake’s “The Chimney Sweeper” (1008-09, both versions from Songs of Innocence and Songs of Experience); “London” (658), “The Tyger” (1007-08). Wordsworth’s “She Dwelt among the Untrodden Ways” (681), “Tintern Abbey” (1048-51). Samuel Taylor Coleridge, Percy Bysshe Shelley, John Keats. Coleridge’s “Kubla Khan” (1010-11). Shelley’s “Ode to the West Wind” (817-20). Keats’ “Ode to a Nightingale” (1031-33),”Ode on a Grecian Urn” (1033-34).

WEEK 10 POETRY

W. 03/28. Spring break: no classes all week.

WEEK 11 POETRY

W. 04/04. Modernist Poetry: W.B. Yeats. William Butler Yeats: an Album (895-908). Chapter 19. Cultural and Historical Contexts: the Harlem Renaissance (947-56). Poetry of the Harlem Renaissance (956-64). Essay excerpts on Harlem Renaissance (966-81).

WEEK 12 DRAMA

W. 04/11. Read “Elements of Drama” introduction (1125-34) and introductory material on Shakespeare (1245-51). William Shakespeare. A Midsummer Night’s Dream, Acts 1-2 (1251-71) and we will watch part of Acts 1-2 of Trevor Nunn’s RSC production on DVD.

WEEK 13 DRAMA

W. 04/18. William Shakespeare. A Midsummer Night’s Dream, Acts 3-5 (1271-1304) and we will watch part of Acts 3-5 of Trevor Nunn’s RSC production on DVD.

WEEK 14 DRAMA

W. 04/25. Tennessee Williams. A Streetcar Named Desire, Scenes 1-5 (1408-42). We will also watch part of Scenes 1-5 of the 1951 film version starring Vivien Leigh and Marlon Brando (directed by Elia Kazan).

WEEK 15 DRAMA

W. 05/02. Tennessee Williams. A Streetcar Named Desire, Scenes 6-11 (1442-71). We will also watch part of Scenes 6-11 of the 1951 film version starring Vivien Leigh and Marlon Brando (directed by Elia Kazan).

WEEK 16 DRAMA

W. 05/09. Arthur Miller. Death of a Salesman, Acts 1-2 (1646-1711). We will also watch part of Acts 1-2 from Alex Segal’s 1966 production starring Lee J. Cobb as Willy Loman.

FINALS WEEK

Final Exam Date: Wednesday May 16, 5:00 – 6:50 p.m.